Approaching 71, he has clearly found a second wind allowing him to continue the same spirit of innovation that burst forth nearly 45 years ago. But he found a new constituency – younger artists outside Nashville’s mainstream who revered his earlier work. He spent 15 years away from recording before returning to find that much of “country” sounded like classic rock. Paul McCartney’s “Sally G” and the Byrds’ landmark Sweetheart of the Rodeo album (see sidebar) benefited from Green’s presence.Īfter pioneering a powerful, percussive in-your-face style, Green devised a new pedal-steel configuration in 1972 and continued his career until problems with his hearing forced him to retire in ’88. He was present to help create hits for Tammy Wynette, Charley Pride and Freddie Hart, Don Williams, Jerry Lee Lewis, Mel Street, John Anderson, and Gene Watson. Among them is Warner Mack’s “The Bridge Washed Out,” the hit that made Green’s reputation and Johnny Paycheck’s and Lynn Anderson’s earliest successes. From the mid 1960s until the late ’80s, as part of Music Row’s legendary A-team of first-call studio musicians, his original, edgy, and aggressive pedal-steel guitar graced countless singles and albums. Lloyd Green is back on Nashville’s cutting edge. The seat is a Sho-Bud Pac-a-seat he has used since 1973. This steel has been used on more than 5,000 recording sessions and it continues to be his primary steel. Prior to this, a single on a double-neck cabinet with pad didn’t exist. Lloyd Green with the the signature model pedal-steel guitar he designed for the Sho-Bud company in 1973.
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